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ELECTED, 

RRAN GED AND 

Philadelphia, p^v. 

^SVfa* ror Colem Atf 

228 N.3 t .h ST 




Item JWethod for the Comet 

BY OTTO LKNGEY, 

THE MOST PROGRESSIVE AND PRACTICAL METHOD 

PUBLISHED. 

This work cannot fail to be popular with both teachers and pupils, as well as more advanced players. 
The studies are graduated and arranged progressively with a view to the rapid advancement of the 
scholar, abounding with Sample Exercises and Duets for Teacher and Pupil, and bringing the Perform .<r 
by a gradual and simple course to a series of Grand Studies and Solos. 



CONTENTS 



Rudiments of Music. Table of Notes in the Treble Clef. Duration of Notes. Comparative Table of the Relative 
Value of Notes. Explanations of Bars, Rests, Dots, Triplets, Double Triplets and Groups. Time. Table of Times. 
Scales. Table of Signatures of Flat Keys. Sharps. Table of Signatures of Sharp Keys. The Natural. Instructions 
for the Cornet; of the Slides. Position of the Mouthpiece. Position of the Body. Method of Producing a Tone. 
Preparatory Studies. Chromatic Scale with Sharps and Flats (Full Compass). Notes that can be Obtained with 
Different Fingerings. The First Exercises. Scales upon Intervals. Studies on the Slur. Syncopated Notes. Minor 
Scales. Table of Minor Scales with their Relation to Major. DiS'erent Shades of Tone. The Pause. Taking the 
Breath. The Double Sharp. The Double Flat. The Appoggiatura. The Cadenza. The Gruppetto or Turn. The 
Passing Shake. The Shake. The Portamento. Chromatic Studies. Abbreviations. Rests. The Harmonic Minor 
Scale. Studies on Tonguing, Seven Studies on Single Toiiguing. Sixteen Studies on Double Tonguing. Thirteen 
Studies on Triple Tonguing. Scale Studies. Exercises on the Slur. Exercises on the Appoggiatura. Exercises on 
the Double Appoggiatura. On Grace Notes. On Shakes or Trills. On the Passiug Shake or Mordente. On Inter- 
vals. Exercises for the Fingers* On the Double Triplet. On the Arpeggio. Twelve Cadenzas in Major Keys. 
Eight Cadenzas in Minor Keys. Twelve Grand Studies. Two Airs with Variations. Two Duets. An Appendix of 
25 Pages of Orchestral Studies and Solos. Ten Studies on Transposition. Trumpet Solo Parts of Thirteen Over- 
tures, showing the Best Manner of Transposing same. Celebrated Trumpet Solo, THE TRUMPET SHALL 
SOUND, from The Messiah (complete), for Trumpet in D, showing the Transposition for Cornet in A. Chorus 
Worthy is the Lamb, showing Transposition from the same work. Then follow the Solo and Important Passagi s 
in Overture Banditenstreiche. Eight Cavalry. Coronation March fro in The Prophet. Fackeltanz No. 1. Band 
Arrangement. Overture Oberon. Tancredi. Selection William Tell. Tannhauser March. Solo Parts of Cava- 
tina from Barbier de Seville. Inflamatus from Stahat Mater. Evening Star from Tannhauser. Cuius Animam 
from Stabat Mater. Song, How Fair Thou Art. Grand Air Varie, II Canto Italiano. A List of tha Principal, 
Words used in Modern Music, with their Abbreviations and Explanations. 



This work which every Player should possess will be found the best for Learning the Cornet, with or 
without a Teacher. It is Quarto size, contains 126 PAGES, and is bound in a durable manner with Cloth 
Back. 



Although the book has been increased one-fourth in size and more than doubled in value, the pric 



same, 



The Appendix alone is worth more than the price asked for the book. 



The COLEMAN EDITION Is the only one that has been Revised and Enl? 
THOK, OT^ 
Title Page 



C"itf CIT'ION J TH° K « OTTO LANGEY.and as a Guarantee of Genuineness his Portrait wl 



Do not fail to ask for and insist upon procuring the 

Colsmkn Edition 

TKKO NO 0TH6R, 
knd Re^e^BeR THe pricg, ONLY ONE DOLLAR 

Sent by Mail to any address in the United States or Canada on Receipt of Price. 





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PUBLISHED BY HARRYCOLEMAN 228 N. 9™ ST 



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Copyright 1889 by Can Fischer New York. 



INDEX. 



Page 
Rudiments of Music 1. 

Comparative Table of Notes in Two 

Clefs. 1. 

Duration of Notes l. 

Comparative Table of the relative value 

of Notes...... 2. 

Bars 2. 

Rests , 2. 

Dots 3. 

Triplets Double Triplets and Group 3. 

Time 3 . 

Table of Times 3. 

Remarks on the Bassoon 4. 

Scales for the Bassoon 5. 

Scales of Shakes for the Bassoon 6. 

The first Exercises _ 7. 

Scales 8. 

Slur 10. 

Taking Breath 11. 

The Pause 14. 

Flats 17. 

Table of Signatures of Flat Keys ..17. 

Sharps 19. 

Table of Signatures of Sharp Keys 19. 



Page 
The Natural ... 21. 

Minor Scales ..„ 21. 

Table of Minor Scales with their rela- 
tion to Major 21. 

Different shades of Tone 23. 

The Double Sharp 41. 

The Cadenza , 41. 

Application of the Tenor Clef 46. 

The double Flat. 54. 

The Appoggiatura — 56. 

The Gruppetto or Turn 57. 

The passing Shake 58. 

The Shake 58. 

The chromatic Scale. _59. 

Exercises on various articulations 60. 

Exercises for acquiring a long breath and 

a full tone 62. 

Abbreviations — 63 . 

Rests 63 . 

The Harmonic Minor Scale... 69. 

Various Exercises 75. 

Concerto and Solos... 91. 

List of Foreign and English words 

used in modern music — . 100. 



®*£§^~ 



216»-100 



RUDIMENTS OF MUSIC. 



Before the student can commence to play on any Instrument? it is necessary that he should be a- 
quainted with the rudiments of Notation. 

The musical signs, which indicate pitch and duration of a musical sound, are called Notes, fig- 
ured thus: o a d d' m> S m etc. 

They are named after seven letters of the alphabet.- C D M F & A B and are written on, 

between, above or below five parallel lines ' called th@ MtttVG) £he names of which are 

determinated by Clefs, placed on different lines. 



For the Bassoon two clefs are used, The Bass or Fclef, placed on the jfourth line " : and 

the Tenor or C clef, also placed on the fourth line TRt— r~ 



or 



The names of the Notes on the five lines in the Bass clef are -*J" ' 3 fe f 



the four Spaces between the lines, ^77 « 4 J J -f-g 

AC EG 
lines 3E 



ff 



of 



G B UFA 

of the two .above and below the 



F B 

These eleven notes being too limited and in order to signify higher and simper sounds, ledger 
lines have to be added, above and below the stave. 



~ * £ t 



Notes of the ledger above the stave. 
Notes of the-ledger below the stave. 



> ,rffffm 



CBEFGABC 



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h DC » T t 



etc 



etc. 



BASS CLEF. 3= 



c B A G 
Comparative Table of Notes in two Clefs. 



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TENOR GLEE 



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Tt^&rrt-? r r r r r rf^ H 

^ ^ _ . ' •„ „ „ v v a A B C D E 



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G A II C I* E F G A 

DURATION OF NOTES. 

Notes may be of longer or shorter Duration which is shown by the peculiar form of each note. 
Forms of different notes: 

k 



m 



3E 



^=^ 



5-: 



Scmibrt'Ti' ; Minim; Crotchet; Quaver; Semiquaver; Demi-Semiquaver; 

Several of the latter three specimen 
combined may also be written. 




2169-100 



Quavers; Semiquavers; Demi-Semiquavers. 



2 



Comparative Table of the relative value of Notes, 



A Whole Note, 

or 
2 Half Notes, 

or 
4 Quarter Notes, 

or 



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. 


y y 


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8 Eighth Notes, g F P[ 

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16 Sixteenth Notes, 

or 



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,22 Thirthy second Notes, rrrrr.rpr 




BARS. 

Notes are divided into Bars by single or double lines drawn across the stave. 

One line : is placed after each bar. Each bar contains the same number or value of notes, and 

must last precisely the same length of time. At the end of a composition or section of a composition, 

two lines are placed forming a double Bar. \ == ^ If either two or four dots are found by the 

side of a double Bar. — - ^jfc" "" the whole section from the preceeding double bar, or if there is no 
earlier double bar, from the beginning of the piece, is to be played again. This is called a Repeat. 



RESTS. 



Instead of a note a Rest indicating a pause of equal value may be used, thus _ 



m 



i 



Rest for aJlhole Note, Half Note, Quarter, Eighth, Sixteenth, Thirthy second. 



2170-100 



DOTS. 

A Dot placed after any note increases its value one half. Thus: 



^ 



is equal to 



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or 



to 



* 



or = ¥ 2 



to V ij 



Two Dots placed after a note increases its value one half and a quarter or rJ-- 1 is equal to^ 



i 



JB" 



etc. 



TRIPLETS, DOUBLE TRIPLETS AND GROUPS. 

Triplets are marked by a figure «y placed over a group of three notes; double Triplets are marked 



by a 6 placed over a group of six notes. Three Quarter notes marked thus d m d are to be played 

not so marked. Or six Eighth notes, : 



in the same time as two Quarter notes 



-e- 



like 



four Eighth notes dddd\ not so marked. There are also Groups of 



five, seven and nine or more notes. 

etc. 




TIME. 



In order to denote how many Quarter notes, Eighth notes or Thirthy second a bar contains, special 
figures are placed at the beginnig of a movement, as under. 



Common Time. 



Three four Time. 



Two four Time. 



m mi J __1 



3 



SS=S: 



^m 



Contains four Quarter notes, or the same 
value of longer or shorter notes or 
rests and four 1,2,3,4, have to be 
counted in a bar. 



Contains three Quarter notes, or the same 
value of longer or shorter notes or 
rests and three 1,2,3, have to be 
counted in a bar. 



Contains two Quarter notes,or the 
same value of longer or shorter 
notes or rests and two 1,2, have 
to be counted in a bar. 



TABLE OF TIMES. 

Single or common Times. Compound common Times. Single Triple Times . Compound Triple Times. 



s 



1 



Z Q 



3S 



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or 4 



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When a line is drawn through the C thus (p it is called Alia breve and two 1,2 are counted in a bar. 



THE BASSOON. 

REMARKS. 

The Bassoon was invented in 1540 by the Abbe Afriano of Pavia. The instrument is called Fagotto 
in Italian, Basson in French and Bassoon in English. The Bassoon was first introduced in the Or- 
chestra of the Opera in Paris in the Ballet „ Pomana"by Cambert in 1671; it was then, with the 
Flute the only wood instrument used in Orchestras. It had only three keys viz-. B flat, D and F 
and the highest note was A. The improvements on the Bassoon were very slow and in 1750 it pos- 
sessed on key, A flat, in addition to the three already mentioned. But, however imperfect the 
instrument was in the seventeenth century several Soloists distinguished themselves, amongst 
them: Jadin, Schubert and Ritter. Since that time the Bassoon has received the attention of many 
makers and has been greatly improved in our days by Savary, Adlher, Triebert, and other makers 
under the supervision and advice of the celebrated French Professor E. Jancourt. The Bassoon has 
become one of the most perfect of wind instruments and can be used in every key with facility. 

Its compass is three octaves and a half from B flat grave to E natural alto, which enables the per- 
former to play very important parts in all classes of music. 

^^€#*#§S~^ 



The Bassoon is generally made of Maplewood, but some professors prefer Rosewood at is gives 
a clearer tone. The instrument is composed of six pieces, viz: 

l s S The lower joint on which are the keys of #\?, F, G§ and F%. 

2«d The short joint with the keys of A,C Alt, e\> Alt, c| and eV 

3rd The long joint with the keys of D,e\>, C,C# and B k 

4t h The bell with the b\ key. 

5^ The metal crook . 

6th The reed or mouthpiece. 



HOW TO KEEP THE INSTRUMENT IN GOOD ORDER. 

The Bassoon requires a great deal of attention in order to keep it in good condition. Every time after 
being used the performer should clean the Instrument by passing inside each joint a cleaner expressly 
made that for purpose, and the holes should also be kept very clean or the instrument would get out of 
tune. The inside of the instrument should be oiled two or three times a year to prevent the wood splitt- 
ing. The crook should be cleaned inside every fortnight with hot water and by passing through it a 
cleaner made of a flexible wire mounted with horsehai. The keys should also be kept very clean and 
the springs oiled when required. 




CHROMATIC SCALE. 

FOR THE BASSOON WITH 17 KEYS AND 3 RINGS. 

The black dots (•) indicate that the holes must be Closed, the zeros (o) that the holes must remain open, and the numbers correspond with the various Keys on the instrument. The Gl|, G# or A\> in the second octave being more free with half Closing the hole 

thev are indicated thus S. The sign _ placed on the right of the notes represents the hole in the lower joint which must be Closed by the thumb of the right hand. 

J ° ° ° seldom used 

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CHROMATIC SCALE 



FOR THE BASSOON WITH 17KEYS. 



AtBCC|tDDltB FF * GG * AA *' BC 



CHBMFFICGIA A* B C d D D» E F Fit G ^ A A * B C C» D. 

fl» a jo. ft g la ! j, Ma & & fc g 



With Sharps. 



With Flats. 




THE FIRST EXERCISES. 

Breath the syllable „Too" into the instrument and apply a stroke of the tongue for each note. 

1. 2. 



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cgfefefQ4fe gb ° c 

8. 



Now observe the value gs ~ z 



of the notes and count . 



x*- 



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One, two, three, four; one, two, three, four; 1, 3,3,4 etc. 



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8 



SCALES. 



The ladder- like succession of eight sounds, starting from any note and ascending or descending by 
tones and semitones in regular order, is called a Scale and each note of a Scale is called a Degree. 

Between these eight degrees there are seven intervals or distances, five of which are whole tones 
and two semitones. 

There are two principal kinds of Scales, termed Major and Minor, whose ascension or descending 
is diatonical i.e. tones and semitones; and a third kind, whose ascension or descensionis chromatical 
i.e . only in semitones. 

For the present only the major scale will be treated upon. 

In the major scale the semitones are situated between the third and fourth, and the seventh and eighth 
degrees of the Scale. 



Example. 

tone ! tone Isemitone I tone tone tone | semitone | 



3=^ 



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/l^degre^/gnj^ ~/ %fo^ X 4jt \ / 5 "' \ / gt - h \ / 7t -*\" 7gjj\ 



Each diatonic scale derives its name from the name of the note on the first degree — or the root. 

There are twelve major and twelve minor scales; but not to burden the student with their combina- 
tion at present , only the scale of C major will be given. 

The distance from any note to an other is called an Interval. Two notes placed on the same degree 
do not produce any interval they are said to be in Unison. 

The interval are named: the Second, the Third,the Fourth, the Fifth, the Sixth,the Seventh,the Octave etc. 



Degrees. 



a=^ 



m 



Second, Third, Fourth, Fifth, Sixth, Seventh, Octave. 



SCALE OF C MAJOR. 



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21 . EXERCISES with lower notes 



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SLUR. 

A slur x — ^ drawn over two or more notes binds the same , for which only one stroke of the the tongue is applied. 
23. A slur over two notes. 



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TAKING BREATH. 

In playing a wind instrument it is very important to take breath at the proper time, which should be 
done quietly without noise and without any motion of the body. As musical compositions consist of 
phrases, care should be taken that such phrases are not interrupted. Much, however depends on the 
construction of the body, for many players can keep the breath longer than others, therefore no strict 
rules can be given , where to take fresh breath. 

In the following exercises breath is to be taken whereever this sign ? occurs. 



In Thirds. 



Scales upon intervals. 



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Si 



f-f i f'rrr 



r r r r if 



(9- 



yP 



iV. V * 



i 



i 



#— a — f» 



p 1 1 r ir rmf r T rr T-^ 




i ' Ji ■' 



3Z 



■ g g 



12 



In Fourths. 




aM 





j y Jj ' 4 P | 



In Fifths. 



^ 



JJI MJjIJ^IJ JJ I J JJJ I ^ | 



m 






5> — — 



J JJ II 'JJJ 



^ 



g 



izz: 



31 



-« 



Wf^ 



f 



^m 



T2Z 



e- 



-&- 



ff 1 J fT 



ppp 



gpp u ^ 



^-|9- 



g ■ 



=«T- 



^# 



-F-#- 



*=p 



p 



£ 



f l f p if - if 



i 



^ 



=SS=P 



£^ 



£ 



» ):f E 



m ! T n i i g ^ 



r nr rr 



-e^- 



a J r Tf>JJl.)rl.l Ji> JJJIJ ^f^ F ^ 



p 



gp^ 



-tt- 



± J J i J ^^i 



i 



g d 



PI 



i 



13 



In Sixths. 



^pp 



ingi 



jjjJU JljJ li|JjNjMj 



' ' ' 1 1 


^L____J_J t Lg--^- 1 J J J -^-p--g P J ^^J^ -J 




39# 



£ 



(^ 



p — ■-» 



^ 



^ 



rr '' r 



pp 



£p 



yJ J i m | p 



l 



s 



i5- 



^ 



f 



22 



J j.i j j. i j jiJ J i 



i4 |J i IJJ Ji 



§ 



=-19- 



#" 



In Seventh. 



S 



PPP^ 



P^ 



n 



^ 



*^» 



iip 



rir i X rj jJN 



is 



^ 




a 



^ 



i; 



15*-=- 



f 



PP 



^ 



-& 



i£ 



^ 



^=^ 



i^ 



S169- 1(10 



14 



In OCTAVES. 



§§a 



^jijjJJi^JijjjjijJ^ i ^yiyjjjiJirr 




w 



g f if- ifrrr^ ^ 



M^tof 



p 



'»JJJ|N 



rj i rrr J ' J ^Jir^ 



f 



ag 



^IF 



i'rj T 



P^ 



^f 



~zl 



*~9 



27. 



m 



^ a. -T '_: £ 



:£ j2 £. -*r 



# 



S 



28. 



^el 



/ 7 / 7 # / 7 # y^ 7 / 7 

l5»- -p^ >T"N iT^s ^o ^^; £TN a^\ 

■&■ ■&■'— 



£l k£ #£ :-# £ 



N -«^ <£ '"^ £^ J2^ -eTN ^L 

f|frirf|ff|ff | ff|f?iff 



THE PAUSE . 

This sign fT\ is called a Pause. When it is placed over a note, the same is sustained to an indefinite 
length, at the performer's pleasure, the counting being interrupted. 



29. 



?F*f? 



m 



r\ 



M 




r r i - I 



When a dot is placed over a note it must be played very short, which is done by pronouncing a short 
T. , this articulation is called staccato. 



30 



.»s;jT3irr_£j».jg g 



mi'iruf i iLa 






2169- ltm 



15 



SI. Two notes slured and two staccato. 



£0^ 



i 



m 



mm 



p 



^ 



^ i rfff i frfiif^ijrl 



m 



3&. Slur three notes. 



m 



§ 



#- # 



#HC=Ff 






P 



r i ' i r f i f J 



*£fe±^ 



Observe the Rests. The notes must not be sustained beyond their actual value, the rests must 
be quietly counted. 



33. DUETT. 



PUPIL. 



\ 



§^ 



STER. ( |y r g 



MASTE 



^ 



i 



P 



i 



/ m 



P 



I 



P 



i 



I 



i=ife 



P 



§ 



^ 



fe 



F*= 



§ 



t 



»M 



I 



i 



P 



S 



P 



P 



PP 



^ 



i 



i 



^ 



^ 



Sp 



^ 



» — * _: 



-0 



m 



jM m 3 



S 



P 



^^ 



<rJ g — *-*■ 



0- F * 



~22 



m 



m 



W 



m 



* 



t 



^ — ^ 



34. EXERCISE with Semiquaver. 



Ill j JjJj^J 1 1 J7J^ 



* " a 



i J Ji'J |" J [j Be H 



S 



r r I J rrrrT ^ 



m rn, ™ r J i j^r J | 



inc« 



f 



^: 



tfjCTr™irfla ^Tj cEc rr r i jfflgjirjiJj!B3rJBL- 



21CI- 100 



IB 



35. 



gjf=g|g 



jsl 



i 



i£ 



a 



t 



w^ 



* 



- fcj jfg: 



^S 



? 



££ 



fc 






rrr ir*r* 1 * ^ 



* j ^ 



s 



^ 






s 



~cr 



ror 



-©- 



w 



36. 



* >$ i* p 



•jg-y 



*>$^Js 



e££ 



& 



S 



m 



m 



m m 






£3* 



-# # 



i§y 



w 



^ 



p 



*s 



ffi 



i 




P=3E 



i 



Pj»f i fjfLp 



tt 



( 



£ 



m 



m 



m 



m 



53 



P 



a 



F^ 



W 



37. 



pMccflTJ ir r J 1^ 



s 






f 



^ 



— * • M 



gm 



^m 



m 



i m 



i 



* 



s 



S 



^ 



i 



P 



-tS*-^ 



^ 






Pi* 






ill 



^ 



^ 



fe 
^ 



2H.9- HID 



17 



FLATS. 



A Scale may be formed on any note; but in order to produce semitones between the third and fourth 
and the seventh and eighth degrees in any other but the scale of C- major, it is required to employ 
certain characters, which do raise, depress or restore any note of the Scale. 

One of these characters, is called the FlatP, which, when prefixed to a note, depresses it half a tone. 

The number of Flats employed in a scale, depends upon which note the scale is founded. 

The flats succeed each other in the following order. 



£ 



$ 



B flat; 



P 



£ 



£ 



£flat; 



P 



m 



£ 



£ 



Aflat; Z?flat; 



Gflat; 



C flat; 



F flat 



Thus it will be seen that if one flat is employed it must be prefixed to B consequently all i?'s in 
that piece must be depressed half a tone. When two flats are employed, all i?'s and is"s must be 
depressed and three flats all B s, E s, and A s, etc. 

The flats marked at the commencement are called the signature, while any which are marked in the 
course of the composition are called accidentals. 

Table of Signatures of Flat Keys. 



Number of Flats. 
Names of the Keys . 



SCALE OF F MAJOR. 

Semitone. , i Semitone. 



^ j n 1 ' m m bi kH^w/ i i 

F B\> E^ A^y D\> g\> C\> 



m 



grg 



&£- 



HHii 



zz 



^ 



5 



Hf' fM^T'J 



fr- 3 ^ 



■rt-* 



&- 1 — 15" 



83 



^m 



rrrn^ jJ i rr 




p 




2169-100 



18 



Chords. 



S 






Dominant. 



gfeg 



■— 1»- 



I'l^Ui l , 



i 



Tsr 



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39. Moderate »> 



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3 



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S 



P 



H 



W 



PP 



^ 



3t =?^ 



i 



i yrn--r1Tr i f-rT : i r^ f \ U^' p i M 



1 



^ 



s 



M-frj l jjj j l ^ fW ^m^S ^ m 



m 



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^ 



m 



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g 



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mm 



I 



^ 



m 



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fe 



^ 



a 



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22 



40. Moderate 



£^ 



gj^B 



iHg 



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si 



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fj'" **^g P 



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f 



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a ■ 



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g J " z 



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°A List of Foreign and English words used in modern music is given on page 100. 



19 



SHAHPS. 



A Sharp perfixed to a note raises the same half a tone. The Sharps succeed each other in the follow- 
ing order. 



§e 



2 3 



5 G sharp,- I) s 



5 



I 



* 



F sharp; C sharp; G sharp; I) sharp; A sharp; E sharp; B sharp. 
The same rule concerning Signature as with Flat Keys is to be observed here. 



Number of Sharps. 
Names of the Keys. 



Table of Signatures of Sharp Keys, 

12 3 4 5 



g j || «, 1|^ \%fa \i % % ^V^|4## 



G D A 



E 



B 



4 



c« 



Scale of G Major. 



^m 



£ 



a v 



-to. a. ^t 



m 



d a 



^ £. «- 



i 



3 



§g r i r 



22 



g — st 



-e- 



41 ^^ ^ >^ 



^7^ <>ff#^ ^#fft>7> fpff . 



m 



>>: i ^r HI i rm tiff i ^ff g£f i ffffr^ | 



g tint^j '^^Or iSr c ^ i car ^ ^H i 




Dominant. 



i 



fei 



^ 



s 



f 



# 



T5 



2169- 100 



20 

42 



^S 



i 



j-dcuJ 



3§fit 



=*=* 




# 1* 



# ♦ 



• m 9 



P 



43. Andante. 



g i g r C 






i 



Hi 




i 



M 



22: 



£e 



^ 



^ 



P 



f 



f** 



F* 



*P 



w* 



f 



li§ 



s 



#-*# 



£.• 



i 



J#fF 



i 



^ 



jSB 



i 



S 



f 



f 



^ 



f^ 



£ 



# 



f 



44. Allegro. 



g j «-, g 



P 



^ 



pi 



^ 



m 



£m 



^_Fj l j ^ **- 



pinjn ^m 



' f ^ ' tf J * rt fr" ** 



* 



S 



^ 



err PJjJj^ fep 



y»iflfJi 



m 



\ffr i t ^ l 



frfT# 



in=i 



it- :~ T.M.&- 



m 



i 



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m j.iqj) 



ip 



fe 



fee i fttf 



i 



n^ 



E rf . r* 



£33 



^j 



fe^ 



§£ 



— t — 



£§£ 



t 



g 



Sp5 



§PP 



I 



mp$ 



m& 



i 



i 



HPiP 



#^a 



^^ 



^ 



'>tJlJ ft 



w$ 



f 



s 



£ 



i 



2169-100 



f 



H 



PP 



Si 



jJJJujgj I jgLJ!: 



s 



i 




i 



» r ■ 



gffff^ 



Hi 



iii 



21 



THE NATURAL. t| 

In order to restore a note which has been raised by a sharp $ or depressed by a flat b, a Natural\ 
is employed, which restores it to its natural position. 



Thus 



gg 



jf raised by a sharp, is restored by the natural 



§EEJ 



— to its original sound , 



or jjj| /?!> to jj fa j 2? natural. 



MINOR SCALE. 

Every major scale has its relative minor, the root of which is to be found on the sixth degree of 
the major scale. Both scales bear the same signature. 

There are two kinds of minor scales, the Harmonic and the Melodic from, of which the latter now 
will be explained. 
The ascending of the melodic minor scale differs from the descending, the former having its sixth 

and seventh degrees raised by accidentals not essential to the Key In the ascending, semitones 

are situated between the second and third, and the seventh and eighth degrees; ami in the descend- 
ing between the sixth and fifth and the third and second degrees. 



Scale of A minor, without signatur, relative to C major. 

i tone I semitone I tone tone tone I tone Isemitone 



m 



3?E 



3?E 



/l^degreey /gj'N^ /& r j\ "/j5\ /^\ - /^ f \ /K'\ /&j\ 

tone tone Isemitone I tone tone Isemitone I tone 



4 



i 



i 



/5g\ /*'-% /^'-^V /jjj\ /«'i\ /ggjv /*$\ /'*-\ 



Table of minor keys with their relation of Major. 

^/major. E major. B major. /Umajor. C% major. ij% major. V% major. A§ major. 



W 



£ 



1 



m 



i 



m 



it 



a 



el 



SSBCil 



to 

C major, 



to 
major. 



to 

D major. 



to 
A major. 



to 
E major. 



to 
B major. 



$3 



m 



to 
F§ major. 



m 



to 
C% major. 



m 



m 



m 



m 



i 



§ 



2? minor. # minor. C minor. F minor. Bbmi 



minor. 



E\>mi 



minor. 



A\> 



minor. 



E 



& 



S 



S 



* 



t 



* 



B 



B* 



^e 



to 
F minor. 



to 
B\? minor . 



to 
Ev minor. 



to 
A\> minor. 



to 
D\> minor. 



to 

G\> minor. 



m 



s 



5 



m 



st 



3 



s 



£Kp 



gag 



to 
Cp minor- 



FFfc 



fefi 



2169-100 



22 



Scale of A Minor. 



j jL^M MjUrf m gJ 



fetei itetee 



i 



^:=fz 



f 



2Z 



33l 



Chords. 



i*- --i* 



Dominant. 



^- , M i rr i rfnrr i r ,i | gul Bjgti pB 



• » 



r p *r p i f p j-jrti-j 



s 



■ ■ 



a m m 



m m 4 



Count: one,two,thn-e,four,five,six 1. 2. 3. 4. 5. 6. 1. 2. 3. 4. 5. 6. 



1.2.3. 4.5.6. 



*>'• r ^r P ill P P 7 P" i p * P fa I 



i 



P 



1. 2. 3. 4. 5. 6. 1. 2. 3. 4. 5. 6. 

45. Andante. 



1.2.3.4.5.6. 



s 



")• <«, f t 



#^ 



i 



^ 



i 






1 I J J ^ 



fe^i 



i^£± 



PP 



fe^g 



F 



f — d 



iiS 



ife 



i 



^ 



W 



?,rPu | 



^-H^b 



i s s r. 5 a 



P 



& 



I 



© 



^=» 



i 



^ i 



* # 



i 



mM 



i 



^^ 



^ 



^ 



^m 



mk 



? 7 S " 



m 



* 



3 



P 



£=& 



& # 



^ 



a 



a 



* 



s^ 



* 0- 



^^ 



i 



i- 



s 



i*3 



i 



? 



*— * 



ta^i 



i 



fMj 



^ 
s 



5? 



r^r~"fe=g: 



I 



I 



^^ 



P^ 



s 



p j I p p ; 



:* 



ss 



? 



21(i9- li)(l 



23 



46. Allegretto. 



mm 



i 



i 



;^Ei 



m& 



^Ei 



P 



s 



1 



1 



^ 



^^ 



I 



a 



I ■> u a 



£ 



i 



Mf> *l 



fel 



P 



5B 



■>«[/ vffp 



psa 



'>> v r «> 



S 



S 



S 



* 



f 



*>p^ ri»^ 



p^me 



fet 



« 



i# 



P 



p 



| ^pp | r 



S 



^^ 



^ 



s 



$m 



wm 



EE 



* 



Different shades of Tone. 

p means: piano , soft . 
pp „ pianissimo, very soft. 

y „ forte, loud. 

J^* 55 fortissimo, very loud. 

WJT •? mezzo forte, moderately loud. 

cresc. or — == means: crescendo, increasing the sound. 

dim., decresc. or^r^ — means: diminuendo, decrescendo, diminishing the sound. 

sf, rf. or^- means: sforzando, rinforzando, sharply accentuated. 

Jp means: forte- piano, loud and immediately soft again. 

Scale of D Minor. „ 



^^ 



M 



W 



w 



w 



zz=^= 



Chords. 



s 



&-\ — &■ 



Dominant. 



* 9- 



MM§M 



-&-n 



pw 



# 



K 



m 



XEZfl 



& 



Study. 




2KJ9-KMI 



24 



EXERCISE with Triplets. 



ir- -f m . i m 



g ^gegrogi 



a^i 



^ 



£* .? ^ 



C£rCC!rlcL r ^*l^ % l i j3 Clj 'l j Si[l 



47. Andante sostenuto. 



a^ 



iM 



IS 



i? 



* 



f 



P? 



22 



*Ei.K j f 



g=i 



i 



i 



W? 



i 



m 



? 



1!* 



^ * 



i 



ti? 



i 



P 



i 



P 



^^ 



g^ 



f 



n if 



^ 



i 



I 



1 



Si 



zz: 



i 



l©- 8 - 



^ 



# 



I2Z 



/re 



#-Ip4 



1 » .«[• gf 




^ 



# 



f 



/' 



s 



1 



£ 



^ 



£ 



-^ 



£ 



"1 1"" 



:o: 



48. Moderate 




2ifi9- too 



25 




W 



U4 



^M 



^irri" p 



m 



- - g# 



n 



F 



95 gS r 



f. 



fe 



^ 



#=# 



1 



P-^—w 




Now the pupil must practice the lowest and high notes. 



2^ 



M: te £ £ £ ^ 



£ ^ 



I 



5£* 




i I;! ?/ 



Scale 



ffi 



jg j >? 
Major. 



^ 



# B 



> g a 



# 



7 g g> 



£ * * 



g 



-£- ■& 



# 



r> i s 



r^ 



-^ 



In the low Octave. 



56SB5 



^ 



g r ; 



ff^ 



Chords. 






^E& 



f§mm 



i 



8T£ So 



^^g 



Dominant 



^^ 



1©- — — 



fe# 



3 



^ 



22 



~CT 



21K«- 1()(» 



26 



49. 



m 



^mp i jfl-jjff i jjt^ ijjrT^g 



^ iff^ i ^ex^ i ^ 3 ^ ! ^ ^^ 



i* 



gi rfrfSff i ^frSff i £^rf §H i g 



*^ 



**£E 





■^^r c c^i^^ i ^^itt^J^i^'TO 




r Lt^u^/i i g 



s 



» g~% l>« 



• I m m 



m 







IP 



* 



51. 



^gttf 



^^r i La^ 




#-»-# 




z «JF^=— p-^- 


— 2 m — ^~ p m m m m P — f S~F~ K ~ |! ^~" — 


• ^rfUfl 




i # iE?= w— L - s=fff£LCH 


r r r i m 

5SSS9 



f r^rf^ 



M 



m f f T f FT r 



I* # f 



gZECTi 



£ 



llrf 1. 




m 



§ 



1 



2Hifl- mo 



37 



AIR. 
52. Andantino . 



AIR WITH VARIATIONS 



m^ 



£ 



^m 



m£ 



fe^ 



fiyi 



f=M^ 



p 



Pffi 



^ 



^0 



: m 



jg^ 



^ 



^m 



0-M-0 



m 



es 



fei=i 



£ * 



• # 



lifens 



fe 




f 



g 



*__: a 



rrir 



Si 



* » m 



F 



P^m 



^m 



m 



i 



• s~* IBjl 



£=## 



fe£i 



£ # 



5 



* 



i? 



^ 



^ 



n * 



B?E 



Sg 



ffl 



a m 



w=-^=m 



f 



VAR. I. 



m 



r| ff i rffffr | rrrfj 



♦f # 



, .if V#tek 



i 



f^m^ 



i 



staccato 



m 



>l m 



1 




» ■ r i» 



gZ3 



s 



m 



itfe 



a 



^j£l# 




*■ * 



J 



s 



m 




p 



IB 



« 




2169-100 



28 



VARH. 

"3 




*> ? r p * up i mgg 



2169-100 



EXERCISE with syncopated notes. 
53. Allegro moderate*. ^ 



29 



W^ 



m 



i 



i 



§ 



i 



$ 



? 



»/■ 



s 



SJF;^ 



^ 



P¥ 



PP^ 



^ 



P¥ 



s 



£i 



i=- $L fl fl&. 



U I ZZZ3 



i 



» 



-I* #■'* 



£ 



£ 



a I a 



* 



/ 



y 



S FFfr 



1 



i 



» 



? 



zz: 



^P 



# 



f 



f 



22 



■* — 



Scale of G Minor Sustain the notes well and observe the increasing and decreasing of the sound. 

fa fa . . fa fa fa .fa fa fa £_ 



fa 



33: 



-O- 



p3E 



tfCE 



^~ 



3X 



-©- 



3T 



-©- 



-O- 



pp^f^ ppvp<f^m> 



fa 









£ | 



^ 
^ 



fa .fa 









S 






^ 



^ ^S O* 



-o- 



sr 



fa fa fa fa fa fa fa 



-©- 



33: 



-o- 



33: 



-€»- 



33: 



-&- 



Chords. 






'^ ^jji r nri r^ 



Dominant. 



£ 



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21*59- 100 



30 



56. Allegretto . 



An other exercise with syncopated notes. 



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m 



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Scale of E Minor. 



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32 



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Chords. 



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57. STUDIES. 



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sferf 



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to 



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2169-100 



31 



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P? 



w 



w^m 



J O' i r J iPri C 



Notes marked with dots and a slur must be played softly, which is done by pronoucing the letter D on each 

59. note - 

_ ^— — ; — -^ •• - • . 



^U^J 




tiirW 



#■■* 



gp 



pi 





/2_ 




^ 



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gj a r rr i r i 



r^_ must be more sustained. 

g • 



r r i r i ' 



p 



f i* s i* r 



2 



61. Tempo di Valse 




cj.j icu^-^cicr 1 ^^ 




2169-100 



32 



Scale of D Major. 



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Chords. 



» 



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§ 



22: 



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22: 



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15 




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a ^S i c ccrfl B iMI nMB i.^JlTji^O J Jji i 



63. STUDIES 



^p 




^ 



^ v-^ ^ - 64. 



f l 'TrffUrr, 




65. 



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T3 fJ^i ["73 ["73 



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i 



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a^an^^ p^i 



2169-100 



33 



66. Allegro moderato. 



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I Puritani. Bellini . 



mm 



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34 



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■67. STUDIES. 



*»« jflrr!h*ttrann ? 



^ 



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68. QUICK. 



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69. Study with dotted notes. Pronounce,, too" on the long- note and,,doo"one the short one. 




2t«t> - KM) 



70 Andante. 



35 



m 



m 



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£=££ 



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Scale of E\? Major. 




37 



74. ModeratO. (Count three 1 2 3 in the bar.) 



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38 



Scale of C Minor. 



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75. STUDIES 




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39 



79 . Andante .(Count four 1 2.3.4 . in the bar. ) 



( 
l 



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2'K«» - 100 



40 



Scale of A Major 



nm 



» 



p 



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£ £ £ £ s 



i 



a 



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77- 



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33: 



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l£ 



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80. STUDIES. 



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C = » 



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84. Scherzando. 



41 



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feuji 



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lM ki/ l uH ^4j' i £ s U g J 




m 



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THE DOUBLE SHARP x . 



When a double sharp x is prefixed to a note, the same must be raised a whole tone. Thus ^ 

fry . ■ — 

double sharp will sound like 3E £ natural. 

85. Andante sostenuto. 



=*1F* 



a gf p 



M^ ^ 



#^ g 



y ?r par i 



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p 



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fl3m.J.J3 



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teiil 



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*^* 



tttr "n - m g . g «rrrr m _ ^ g _g 




*'The cadenza is a repose which indicates that the measure of time is suspended,and its performing is left to the player's 
pleasure, who should execute is tastefully and correspondingly with the proceeding movement. 

2)69-100 



4!i 



*¥$$ 



Scale of Fj} Minor. 



m^^ 



J hJ tf g r 



rrftfr if . i f y 



i 



22 



Z*~^ 



w 



ii 



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3 



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86. STUDIES. 



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gg g| i ^ f i^ ^ji^^j i^ n i.jffi J? ,i 



88. Moderate 



gig i j 




Ik 



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pi B ttf[j»J ti r 



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en vg i 



g^p 






t 



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a ai gr ,fio 



g ' 7 



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m 



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0—0- 



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feai 



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22 



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ag ffj a 



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Scale of Al? Major. 



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a I r> 



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42 *: 



1©- 42. .fit 



42 «. 



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89. STUDIES. 



S 1 jja g frr i jfl rirr i^ ffif i^ ff rffi ic fflffifc 



win 



fg i cffffg|rj 




£>£ #♦ 



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2169- 100 



44 

90. 



gjgpl 



«^*-v *n^\ g^ g^gk g^g>- ^gS^^N 






i§ 



^m 



f±rl> f^rrr- f>fi> f>ri^r> \ 



^ f? lf^ 



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91. Moderato. 



ggl at; if |»f r 



f if'tf > s 






p* . * 



■ ■ 



I 



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£ g £ £ ^ 



a 



2=tz 



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92. Andante. 



S 



l if~rrr 



s 



tef 



I 




g j 



q j ■ g Jf 



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f f- r . f m 



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2169-100 



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Scab of F Minor. 



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42 £ 



fag ^g 



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22 



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93. STUDIES. 



IB «jfl?C^ 




2169-100 



4() 



95. Poco vivace. 



V* u ff > f — * — 


F^ 


ffi=h 


iOl hn i 






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The Student must now make himself aquainted with the Tenor clef. 

Comparative Table of the Bass and Tenor clefs. 



i 



e=t 



*-t 



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5 



ff* 



pp 



± 1 



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C DEFGABC 



DEFGABCDE 



si 



Scale of E Major. 






ZZI 



i rn^jijji^ ip 



Z2I 



B C#^# E E D # C#b 



Chords. 



ywrrr^ 



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2t«9-tOO 



47 



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96. STUDIES 

"SlCai ■■■,■ : 



m m ^0 \ sfflus: i J^ jp 



** 



^ 






WJL 



&jdSUa± \ \'&\ g jJ& f \ 




. ^fqrr^i^r r ^ i ^ f lcxj ^ ^B 



a c- ,c cr JTJ1 ^H 



^ 



ipi^lli^P 



±=3t 



97. 



g#T% 



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98 . Andante . 



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f frf 



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2169-100 



48 






0- JL ^> 



33 



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Scale of G|f Miuoi 



i Mf if- i f - l fi | t 



r ^ IjjUiN lfl^ J f 



^H 



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W jj ' Mh 



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g=g 



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99. 



STUDIES. 



^¥r I p | [XXJ 



yt t r f ifr ti 



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101. Andantino. 



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49 



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2169-100 



50 



Scale of Dl? Major. 



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a 



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102. STUMES. 




n^^cgj-iC^jg 



rJJT] iLfj^iTS 



^s 



C£pv3 1 cicHS-j te§ i flsj^i^ ' ^^ 



a 



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mi r ~0 



m 



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m 



m 



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%mm 



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m 



iZf" 1 - "VdRii. 



104. Allegro vivace. 



g^PPJ 



m 



— 0— -# — I-* 



m 



+ f- 



M 



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mat 



f 



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nm 



f 



p 



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m 



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f f f r r l y 



s 



^^ 



£ 



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jjgj 



^^ 



m 



rwrj 



^m 



wm 



^ 



fcb 



2169-100 



51 



W'lXff 



If 



ff^f i frrrrf i f ^ 



-#-# 



mk 



p rail. 



a tempo. 



zssz 



ZED 



f 



urn 



f 



nr n 



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fWf>rrrr 



m 



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rrrrrr 



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itr** 



i nrrrrrf 



u J*t 



^ 



I 



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tab ^ ~ 



frrr 



$-tt*~ 



nm 



^ 



£^ 



Scale of bI? Minor. 



''V' i Vu i l jilJ^NHr I 



j- i, M i l r ^ i r fe^i 



fe * 



^^ 






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p-re 



P 



I 



m 



w 



JO. 



B\> A\> 6\> F E\> Dy C By 
Chord. 



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■^" i V' § j IJ^ 



^^ 



1 



r | j jga 



77 

Dominant. 



'^yj pi r 



\ iff j i in 



~cr 



105. STUDIES. 






w,,^r^fi ^ i iffrr i acff i ^ 



i 



^s 



i'%i jW j ' cxiix/ ilGxcj 



e ^% 



Hi 



m 



106. 



g^v^jj ; 



# Z: • 



m 



mm 



# .X m 



m x, • 



^p 



^ 



2169-100 



^ 7 m/jyFBy 



52 



IQ/y Allegretto. 



1 



# 



£JEjn[j C 



i 



£ 



£££ 



7 g P 



w^ m 



m 



m 



w 



m 



£ 



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if ,g 


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m • f 


itETm 


r^fi 


fr): L > u r 1 — 


2-/— 


— • — • — 


m • m • 


— r ff 


* p m t 


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i- 7 ha r j^ 


j * j 1 


ti^ 




t£±H 


9 w 


4" — - 



-=»£ — =» — 



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f fr l ff f 



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:=:=* *♦ 



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esp 



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up 



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1 ■ 



Scale of B Major. 






^S 



^ 



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i©- -^ 



e ^ £ 



IB tfj | frf 



3 



a: 



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^ 



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f 



Chord. 



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Dominant. 



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2169-100 



108. STUDY 

»» jfe B 



r ff^rn^ 




ai| OpTj I j " t ^77j: I -f^J ;^ I {JJ3JTJ3 1 1 - I I 



109. Adagio sostenuto. 



,?>- 

*_ 



pi g r lu lt j i r r r r s it^ 



3^^ 3 



iU.tiS Ir P 



E3 



jtr l f J : " 



bi 



r r r t ^ 



NMh 



$m r up 



P 



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H 



* 



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/* 



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a 



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■■& £ elite be « 



i 



Cadenza. 



g^fc 



Scale of G$ Minor. 



geo p I 



fiL 



§£i 



a 



£ 



ZZI 



f 



* *%*'<!) rJ -l : 



Chord. 



^ 



m 



SL '■—&- 



22. 



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f' I ("J I J I 



i 



P 



^-s* 



-o- 



-€V- 



^U 



Dominant. 



m 



3E 



-Xt5>- 



1=6 



77 



TTOT 



# 



T5-27" 



T> 



' I i;ci _ Ir ,ii 



54 



110. 



Andantino. 



^Mifflrl 



M. :n 



£ 



1 



m^Mm 



gs 



tidl I 



spap 



1 



i rr? r ^j^ 



it 



i 



^ 



as jjffif fe Pi-S^ I ifg ^ fr« i f # I i rU a 



Scale of Gl> Major. 



a s e <■ 



i 



^T^# 



P? 



2==e 



* V d == 



S 



I i f f I f 



p i g 



PP 



tr 



IZ2 



fcifc 



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Chord. 



a IS I 






? 



# 



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Dominant 




*'By prefixing a double Flat w to a note, the same must be depressed awhole tone. 

3169-100 



ta* 



tm 



* 



^PFg 



-O- 



55 

:■■::. £ 



a 



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p 



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cresc. 



i=g 



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a 



r r J J P Jj pf 



f 



iEEE 



/ 

Scale of El> Minor 



i? 



«i 4 — #- — ' — »- 



*w m 



j u mp p 



zz: 



r Jg I j _ 



ffl 



f- fa v 



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o rJ 



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113. Allegretto. 



XT 



nn » j i f r r r ft r c j ^ i i p ^lt 



<2^ » 



£ 



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f 



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114 



^te 



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2169- 100 



56 

Graces, Embellishments or Ornaments of Melody. 

THE APPOGGIATURA. 

The Appoggiatura is a grace note placed above or below a principal note. When it is placed above, 
it is always at the interval of either a tone or a semitone. When it is placed below the principal 
note, it should always be at the interval of a semitone. When the appoggiatura is written thus : 

Y w 

- "I ' (I the value of it is one half of the following note. When crossed by a small line thus.- 

m T 1 



its value is but one fourth of the note that follows it*. 



Examples. 



As written./ 



As played. 



I ,-y r 1 1 1 f i nVry-Y «V f gj r i fr ^%* 




There is also a double appoggiatura which is composed of two grace notes placed: the first, one 
degree below the principal note, and the second, one degree above. 

Examples. 

m e I T r S 



115. Allegretto 



gwt 



As written. 
As played. 

Ir 






£H 



/*• J 



£* 



^ 



29* 



^#"2> 




» — e 



3 



f 




J*' efe 






*r*.i 




21(19-100 



THE GRUPPETTO OR TURN. 



57 



is composed of three grace notes, placed between or after a principal note. The Turn is marked thus: 
vs. A small sharp placed under some of the signs =j? indicates that the lowest of the three grace notes 
is sharpened. Should the sharp be placed above the sign thus: Ss the upper grace note must be sharpened; 
or in case of a sharp above and below the sign & the upper and lower grace notes must be sharpened. 
The same rule applies to Flats, only that the grace notes must be depressed half atone in that case 

Examples. 



As written. 



As played. 



« .,.r Mm "ftT ifffrif "rrlVr "ifriV-" m 




With sharps and flats. 



m£ J rr i n- * =s 



k • - OS ? 



ft ri r f ir ir- I ff r rff i 




116. Andante grazioso. 



GO 



^ 






m 




^s 



S 



^ 



cresc. 



ffi 



S 



s^ 



p^ 



SP 



s: 



p* 



**d-# 




i 



£ 



C/3 



#-£* 



^ 



pTr7r7¥ 



^fe 



ag 



> T ffrttf 




m 



T 



ffl^ 



»* . r? 



a 



*=fe 






cresc. 



P 



gJFl^F 



s 



^ 



{fe* 



Sta 



s^ 



iffiF 



^ 



ffi^3 



2169- 100 



58 

THE PASSING SHAKE. 

The passing Shake, often written thusuvmust be played quick and round in the following manner. 

JExample. 

'"-r f f 



As written 



As played. 



g | f r t 



fr.rfrr.rnfr'Vs 



THE SHAKE. 

The Shake or trillo , marked thus <tr consists in the alternate repetition of the note marked, with the 
note in the next degree above it. Example. 



§5== 



£e 



£ 



^^ 



^- 



•ff f p f p f f 



Chain of Shakes. 



m 



s 



*= 




To acquire a fine shake, it should be practised first slowly and gradually increasing in velocity in the 
following manner. 



m 



£ 




^= 



^ 



117. Allegretto 




:^^ 




Pv w vp^, lw*F?P* 



&E*E 



2> 



g^ 



m 



^ 



^ 



i 



M=3E 



^ 



a ■ m 



m w 



. 



.0 



m 



il l ^ . 



5 



*^ 



ezz 



£ 



N^ 



^^ 



£s£=fc 



N^ 



# • # 



P 



^m 



i 



i 





m m w zm 



h# 



3=^=2 



#-=T-H 



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g jj J a I v p | 



i 



rf 



i 



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p. 



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i 



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— — — 0- 



4r 



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pft 



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59 



t t r .r^r * 



fe 



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0-^-0- 



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g^ I 



1 



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AV 



a 



a 



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cresc. 






WW- 



WW 



mm 



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f 



^ 



THE CHROMATIC SCALE. 



^ 



wWitrr' 



i 



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irrr^fWf 



ipppw 



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3 



t^ffYrryr ' rrr^rr'rr 1 



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OTJ3g 



CHROMATIC STUDIES fi 




4-) 

y The chromatic studies may also be practised staccato. 



S U-J-EXJ i tP 



60 

118 Allegro 



Exercises on various articulations. 



^ 



rfTfrf 'crTTrrr^^TJi 



m* 



'■£--*■ M 1+ 



^r-itrrrrr ir/ TTrrrr i r r n fee 



" m *' 



^m t-tu ' cig^ 



#^ 




'i rrrf rr. in i mj i nn n-p i Tn m 



^ 



i 




Sg 



^ 



*J JJ HP 



^£? 



Si 



5E 



s 



^ *- - -^ 



B 



XXlflC^ 



m 



• ta g 



^ 



ntci/^ 'cx# 



^ 



#-S* 




^r jJTrng g 



fv^ 



-f3^f : 



J J 'CLU 



ffy | 



*-# 




^j- ' J lN-u- 



i 



3 



^ 



Various articulations to the above exercise. 
1. . 2. ^ ^. 3. 



2g£rtiii \ \tiLm±?KiLLrtii?^^' ll ££ 



m g r> 



7. 



I 



9. 



10. 



*^r[]^ic^rcj^!i^cj^[£^[i^i£^Pig 



•" ; cxxr [ji^gr [g fffi i£ENz£r jjjp|^iip 



16. 



17. 



^S 



18. 



19. 



20. 



e^r mr ii Lciniif i ^O-r nirij^errfflxffls 



2I6!»- MM) 



Exercise in Triplets on various articulations. 



61 



119. i#V 




-^m^jm ijJ i rfr^ctrrrr^ i r r_r cxj cJLr gp 



^ lCj cxj- lCj ex/ 1 rxr eg- wgcmj icirc^^iT]! 




Various articulations to the above exercise. 



S 




ffrrfr i i fiftffrfrrrr iffffffrfrrr 



£ 



4- *£? 



S 



fffffff rrr i ffffffrrfrT r j te 'f^f f f ^ Tff 



8- kfe 



3^ 




m 



. 9.i£*js 



i0.^f-± 



ii. M.ptkf. 1 ■ 



rfrrrr » fffffff r?r r h fff f ff t frrr^ 



12. *£ 



^ 




gfe TfW frf rrfr t ffiBmccc 



15.»fi» 



■s 



2169- 100 



62 



Exercises for acquiring a long breath and a full tone. 



120. Adagio. 



W^ 



r\ 



r> 



-d 



C\ 



^ 



-©- 



-e- 



-©- 



PP 



o 



35 



(^ 



IT 

pp pp 



TT 



r\ 



r\ 



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33: 



3X 



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33: 



33: 



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r\ 



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33: 



33: 



33. 






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33: 



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f?\ 



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^ v/?> 

£L Si. 



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o o ^ ^r o_ o 



^ 



Si. Si 



Q. 



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J^ 



fz "S: s: Si. 



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33. 



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r\ 



33==ZZ33: 



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3S 



gs 



j£l 



C\ 



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n 



i2L 



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33: 



33: 



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33" 



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121. Adagio. 



^M 



JSl 



n\ 



n\ 



r\ 



fT\ 



o » o 



S 



-o- 



3 



-«- 



-o- 



p== 



■«- 



-o- 



— TT TT 



^ — -/J? O Si. 

O . S3. 



I 



33. 






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w m 



fe£ 



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2169- 100 



63 



ABBREVIATIONS. 



Abbreviations are employed in written music to avoid repetitions of a single note or passage. Thus in- 

a minim marked with a thick line V* rJ 



stead of writing four quavers 



m 



Or 



And 



s£ 



or — ri 



for 



■ J J ■ J J 



or 



for 



will indicate the same, 
etc. 



VKuVu 



pp 



■ - ■ 



Or instead of repeating 

a bar alike 
marked thus 



' a si s n . y«vf rTCTrr 1 1 

Z is used . U-^ ^^ 



etc. 



122. Allegretto. 





fir i t r; rp i f jE js^ 






!« — * 



Uȣ |LT; 



FS 



as 

«■« — ii * 




■■ •* 




v* 



gy \ tf-iH&t j r^ i 



^c 



» 




frtiUf 




f 



RESTS. 

When a composition requires a long silence for an instrument, it is indicatedby numbered rests. 



2 



6 



10 



m 



* ie« - 



or ■ j : er = l 



^3 



£ 



This means, so many bars of that movement should by quietly counted. 

The student may now get acquainted with some very high notes which occasionally will occur in the 
latter exercises. See Scale for the Bassoon page 5. 



m 



r \ >V >f JU 



!>, 



2169- 100 



«4 



Major and Minor Scales in all Keys. 






^tt/^JT l lj 



^g ^r Lti 



ru^^mj^m 



s r^ axir Li 




fete ste 






ggg^ 



a 




2 =¥=S 




¥** 




21M0- 100 



65 




66 



Exercise on the perfect chord in all Major and Minor Keys 




87 




?.i««- ion 



68 



Exercise on the Chord of the diminished Seventh. 




126. 



^ 



/H?i» f\<* . ^jj 



Exercise for slurring a double octave. 

At 



r± 



i ^r i .^ ^T i ^ff i ff if 



i ^ ' j- u v 



f 



s 



j r j r iiJ V r iJ r j r i i' L j r i,i r , f u r _/ 



P 



i U f 4 



* 



127. 



i 



Exercise with the Group. 




^P 




£ 



$ 



^^ 



d ' 



22 



/ 



3 





1 




» / 



i 




f 



f 



2 



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f 



z: 



1^ 



128. Alle ^ ro 



Exercise for quick strokes of the tongue. 




3169-100 



THE HARMONIC MINOR SCALE. 



69 



The harmonic Minor scale differs from the Melodic, as only its 7th degree is raised by an accidental, 
which remains , whether ascending or descending. 



Scale of A minor. 



S 



^3 




#fe £te* 



Efflrf iMirr^ 



■&- 1 



22 



Scale of D minor. 






Scale of G minor. 



' g '' J J I [XP 




*1 



Scale of C minor, 



•>.s-Mjjn'i)iJ [ jrxfV i ' > Vfrju i J|JJ ^ 



Scale of F minor. 



g ij " J 



V M 



gap i, wmmm mm 



Scale of Bb minor. 



^'ijjjjJJ I '^CU ' ' M Jxj jjif 



Scale of E? minor. 



Scale of Eb minon. _ jj A £ U M ■ 

-n^. U j;i^i r r rcctf i ^frrif r i^ 



jj ^j i 



Scale of Gjf minor 



Scale ol UB minor. . •■#- x # f^ x #-#- « „ «^ 



^^ 



Scale of Cj} minor. 



TP 




* 



£ 



P 



tt^fMU 



£ 



Scale of Fjf minor. 



lUf i 't'JJJJJ i j 



'>••¥ cj p JOT if C/CXt-J 



te £8 



fe 




s 



W 



Scale of B minor. 



wm 



= i i g ui-f H = « jt i » I f tt i » f . . I I ri it~»_ I 



Scale of E minor. 



P 



te £1 



^ i ftTfijyUfii^ 



f 



2169-100 



70 

In case the Student should not be quite firm in reading the Tenor Clef, some airs are here given in which 
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INTRODUCTION. 
Adagio ma nontroppo. 



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A LIST OK THE PRINCIPAL WORDS USED IN MODERN MUSIC. 



With their Abbreviations and Explanations. 



A... 

Accelerando 

Adagio 

Ad libitum 

Agitato 

Al or Alia 

Alia Marcia 

Allegretto 

Allegro 

Andante 

Andantino 

Amoroso 

Anima, con ( 
Animato \ 

A piacere 

Appassionato 

Arpeggio 

Assai 

A tempo . . . ., 

Attacca 

Barcarolle 

Ben 

Bis 

Bravura 

Brillante 

Brio, con 

Cadenza 

Calando . 

Cantabile 

Canzonetta 

Capriceio i 
Caprice f 

Cavatina 

Chord 

Coda 

Col or con 

Crescendo or cres . . . 

Da or dal 

Da Capo, or D. C. . . . 

Dal Segno 

Decrescendo or decres 
Diminuendo or dim . 

Dolce or dol 

Duetto or duo 

E 

Energico 

Espressivo 

Fine or 11 Fine 

Forte or / 

F'ortissimo or ff 

Forzando or fz> 

Forza 

Fuoco, con. : 

F arioso 

Gracioso 

Giocoso 

Giusto 

Grave 

Gusto 

Harmony 

Key note 

Larghetto 

Largo 

Legato 

Leggiero 

Lento 

LHstesso tempo 

Loco 

Ma.. 

Maestoso 

Maggiore 

Marcato 

Mancando 



to, in, or at; a tempo in time. 

Gradually increasing the speed. 

Very slow. 

As the performer pleases; not in stric> time. 

Restless with agitation. 

To or in the style of a March. 

In the style of a March. 

Moderately quick. 

Quick and lively. 

Iu moderately slow time. 

A little less slow than Andante. 

Affectionately. 

With animation. 

At pleasure. 

Impassioned. 

Separating or breaking the notes of a chord. 

Very. 

In time. 

Proceed at once to the following movement. 

A boating song. 

Well. Ben marcato, well marked. 

Twice. 

Brilliant execution. 

Guy, rapid, brilliant. 

With much spirit. 

A passage introduced by way of embelisbment 

Gradually softer and slower. 

In a singing style. 

A short song or air. 

A composition of irregular construction. 

An Italian air. 

A combination of two or more sounds. 

A supplement at the end of a composition. 

With. 

Gradually louder. 

From. 

From the beginning. 

From the sign. 

Decreasing in strength. 

Gradually softer. 

Softly, sweetly. 

A piece for two performers. 

And. 

With energy. 

With expression. 

The end. 

Loud. 

Very loud. 

Accentuate the note. 

Force of tone. 

With fire. 

Furiously. 

Graceful. 

Joyously. 

Just, exact. 

Very slow and solemn. 

Taste. 

A combination of musical sounds. 

The first degree of the Scale. 

Slow, but not so slow as Largo. 

Broad apd slow. 

Smoothly, the reverse of Staccato. 

Lightly. 

Slow. 

The same time. [tavo higher or lower. 

In Place. Play as written, no ionger an oc- 

But. Ma non troppo but not too much. 

Majestically. 

Major Key. 

Marked. 

Dying away. 



[quick. 
Allegro moderate, moderately 



Meno Less. 

Mezzo Half. 

Minore Minor key. 

Moderato Moderately. 

Molto Much. 

Morendo Dying away. 

Mosso Moved. Piu mosso, quicker. 

Moto Motion. Con moto, with animation. 

Non Not. 

Obbligato ... An indispensable part. 

Opus or Op A work. 

Ottava, or 8va To be played an octavo higher. 

Pause The sign indicating stoppage. 

Perdendosi Dying away. 

Pesante Heavily 

Pianissimo or pp .... As soft as possible 

Piano or p Soft. 

Piu More. 

Piu tosto Quicker. 

Poco or un poco A little. 

Poco a poco Gradually, by degrees. 

Poi Then, afterwards. 

Prestissimo As quick as possible. 

Presto Very quick. 

Primo or imo The first. 

Perdendosi Losing itself, dying away. 

Pomposo Pompous, grand. 

Quartetto A piece for four performers. 

Quasi As if, similar to. 

Quintetto A piece for five performers. 

Rallentando or rail. . Gradually slower. 
Ritardando or rit. . : . Slackening speed. 

Replica Repetition. Senza replica, without repeats 

Rinforzando With emphasis. 

Risoluto Resolutely, bold. 

Ritenuto Retarding the time. 

Scherzando Playfully. 

Secondo or 2 do The second. 

Seeonda volta The second time. 

Semplice Simply. 

Sempre Always. 

Senza Without. Senza sordino, without mute. 

Simile The same. 

Sino As far as. 

Smorzando Diminishing the sound. 

Solo For one performer only. Soli, for all. 

Sordino. Mute. Con sordino, with the mote. 

Sostenuto '..... Sustained. 

Sotto Under. Soto voce, in a subdued tone. 

Spirito spiritoso Spirit, spirited. 

Staccato Detached. 

Stretto An increase of speed. 

Tacet Silent. 

Thema The subject of melody. [commencement. 

Tempo Time. Tempo primo, the same time as at the 

Tenuto or ten Held for the full value. 

Tranquilla Quietly. 

Tr^r 10 \ Trembling, rapid movement. 

Trio A piece for three performers. 

T \ Too much. Allegro ma non troppo, 

iroppo | quick, but not too quick. 

Tutti All, all the instruments. 

Un A, one. 

Unisono In unison. 

Una corda On one string. 

Veloce Quick. 

Vivace With vivacity, 

Vivo Lively. 

Variatione Variation of a melody. 

Volkslied ' A national song. 

Voce The voice. 

Volti Subito or V . & . Turn over quickly. 



Langey's New Method lor the Guitar 

A Complete and Practical School of standard merit, containing a carefully arranged and progressive 
course of instruction with all necessary Scales, Exercises, Studies and Composition Suited to the wants of 
young players. 

SELECTED, ARRANGED AND COMPOSED BY 

OTTO LHNGEY 

The author has conscientiously adhered to one subject, that of advancing the pupil as rapidly as possible, and 
to this end nothing has been omitted that would serve the purpose. The explanations are so clear and practical 
that it is invaluable to those unable to obtain the services of a first-class teacher. Without exception the finest 
and cheapest work published for this charming instrument. A glance at the contents will show that the work 
is prepared in a thoroughly PROGRESSIVE, COMPREHENSIVE AND PLEASING MANNER, the pupil being 
rapidly but easily led from the simplest to the most difficult exercises and in such a manner that progress is 
made without difficulty. 

SYNOPSIS OF CONTENTS. 



Rudiments of Music. Comparative Table of the Relative Value of Notes. Explanations of Bars, Rests, Dots, 
Triplets, Double Triplets and Groups. Time. Table of Times. Flats. Table of Signature of Flat Keys. Sharps. 
Table of Signature of Sharp Keys. The Natural. Scales. Diagram Showing the Correct Position and Manner o f 
Holding the Guitar. Diagram of the Fingerboard, showing the Location of Every Note on each String, their 
Names and positions. Short Description of the Guitar. EXPLANATIONS of the Maimer of Holding the Guitar 
and Use of the Left Hand. Position of the Right Hand. Explanations on Tuning the Guitar. Explanations of 
Marks for the Fingers of Both Hands. Natural Scale in the First Position. Exercises to Find the Various Notes 
in the First Position. Exercises for Different Times. Exercises for Striking Several Strings Together. EXER- 
CISES for Striking Three Strings Together. Exercises for Striking Four Strings Together. Exercises for the Quick 
Change of Fingers of the Right Hand. Scale of G Major. Scale of F Major. Studies to Acquire an Even Striking 
of the Strings. Exercises on the Second String. Minor Scales. Scale of A Minor without Signature. Relative to 
C Major. Table of Minor Keys with their Relation to Major. Scale of A Minor. 6 Exercises on the First String. 
Examples of Chords of Three, Four, Five and Six Notes. Examples of Broken Chords of Three, Four, Five and 
Six Notes. Examples of Arpeggios of Three, Four, Five and Six Notes. Arpeggios on Five Strings. 82 Technical 
Studies with Arpeggios for the Right Hand; also Chords for Accompaniment. The Chromatic Scale. Scales» 
Chords, and Easy Compositions in Various Keys. Scale of G Major. Different Shades of Tone. Scale of E Minor, 
with Exercises. Scale of D Major, with Exercises. Scale of B Minor, with Exercises. Explanations of the Capo 
d'Astro. Chords with the Capo d'Astro. Scale of A Major, with Exercises. Scale of F Sharp Minor, with Exer- 
cises. Scale of E Major with Various Examples, Exercises and Pieces. Scale in C Sharp Minor. Slurred Notes 
with Exercises and Explanations. Scale in F Major, with Exercises and Pieces. Scale in D Minor with' Exercises, 
etc. The Positions. Explanations of the Different Positions. The Second Position. Scale in C Major. Scale in E 
Major. Studies in E Major. Third Position. Scale In F, with Studies. Fourth Position. Scale in G, with Studies^ 
Fifth Position. Scale in A Major, with Studies. Explanation of the Double Stop. Scale in Thirds and Studies. 
Scale in Sixths, and Studies. Scale in Octaves, and Studies. The Glissando. Gliding in Double Stop. Rondo for 
all Positions. Scales, Chords and Studies in all the Remaining Keys. Continued Explanations and Studies on the 
Harmonics. Explanations of Graces, Embellishments or Ornaments of Melody. The Appoggiatura. The Grup- 
peto or Turn. The Passing Shake, with Examples. Modulations from one Key into Another. Diminished Chords. 
Scales for the Practice of the Left Hand in the Positions. A Collection of Studies and Compositions of Various 
Grades of Difficulty which may be played with the Progressive Part as Recreations ; among which are an Air from 
Stradella, Landler. Air from the Ballet Tyrolesian Market. South German Air. Tyrolean Air, with Flag and 
Drum March from the Daughter of the Regiment. Air from the Daughter of the Regiment. Serenade, O 
Sanctissima. Selection from Martha. Dutch Volkslied, Variation. Dessauer March. German Air. Polish 
National Song. Ariette from the Opera L'Elisir. Melody from the Opera William Tell. German Volkslied. 
Cavatlna from the Opera Bohemian Girl. La Parisienne, Monfferina. Musical Scherzi Imitating Various Instru- 
ments, such as Horns, Trumpets, Accordions, Trombones, Bassoons, &c. A Fine Collection of Minuets, Rondos, 
Waltzes, Marches. Theme with Variations, Songs and Other Fine Compositions. Twelve Progressive Studies by 
Solir. Seven Splendid Duets for Two Guitars. A List of the Principal Words Csed in Modern Music, with their 
Abbreviations and Explanations. 



This fine work, which every amateur or teacher should possess, will be found the best for learning the 
Guitar, with or without a teacher, and will be *ound the most SYSTEMATIC and PRACTICAL 
METHOD published. No expense has been spared in publishing this splendid work. It is printed on 
best quality paper and neatly and durably bound. 

PRICE ONLY OTsTE DOLLAR 

f^f ITION I The COLEMAN EDITION is the only Guitar Method that OTTO LANGEY overwrote and as a 
V.rlVJ 1 l\J II ' guarantee of genuineness, his portrrlt will appear on the Title Page. 

Look out for FRAUDULENT LANGEY GUITAR METHODS as some unprincipled publishers, taking advantage 
of Otto Langey's great popularity, have issued a work gotten up by an inferior musician and has sold them as if 
written by the great Otto Langey. Ask for and insist on procuring the 

Cole7^kn Edition 

and see that Otto Langey's portrait is on the Title page, and remember the price, ONLY ONE DOLLAR. D — * 
by mail to any address in the United States or Canada on receipt of the Price. 



THOROUGH, THEORETICAL* and PRACTICAL! 

WORKS OF IUSTROGTIOH 

BOH EVHf*Y OI^CflHSTHAIt 01* BR^iD IfiSTHO^WEflT 
IU CO^Of! USE, 



INCLUDING 



Eb Cornet, Bb Cornet, Eb Alto, Bb Tenor, Bb Slide Trombone, 

Bb Valve Trombone, in both clefs, Bb Baritone or Euphonium, 

Eb Bass, Saxophone, Clarinet, Piccolo, Flute, 

Bassoon, Oboe, French Horn, Violin, Viola, 

Violoncello, and Double Bass, 

Mandoline, Guitar, Zither, 

Piano and Banjo 

COMPILED BY THE GREATEST LIVING AUTHORITY 

OTTO LHNGEY 

And sold at the extremely low price of 

8S»0rlE DOLlllfll* EACH«®«r 

NBJa£ hnd REVISED EDITION 

SnilTH HPPENDIX OF 2.5 PHGES 

SELECTED, COMPOSED AND ARRANGED 

BY THE AUTHOR, 

OTTO LKNGEY 

Although the Book has been Increased One-fourth in size and more than 
Doubled in Value, the Price is the same, 

ONE DOLLAR 



The Appendix alone is worth more than the Price asked for the Book 



^*CKUTION. 

Every Tutor written by Otto Langey 
in this country, and every one he has 
revised and written an Appendix for, 
will contain his portrait on the title 
page as a guarantee of genuineness. 



Do not fail to ask for and insist upon procuring the 

GOIiEPH EDITION 



TKKE NO OTHER 



KND REMEKBER THE PRICB 



ONLY ONe DOLLHR EHCH 



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_ 



Boston Public Library 
Central Library, Copley Square 

Division of 
Reference and Research Services 

Music Department 



The Date Due Card in the pocket indi- 
cates the date on or before which this 
book should be returned to the Library. 

Please do not remove cards from this 
pocket. 



OCT 26 1916 



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